Monday, September 17, 2012

Avatars Creating Art from Art

"I love to leave the interpretation of my music up to the listener. It's fun to see what they'll say it is."
Erykah Badu

The artist, SaveMe Oh
I don´t know how the artist SaveMe Oh feels about the quote above, neither do I care, because to me experiencing art has to be what it does to me, emotionally or intellectually whether that is what the artist intended or not. What the artist intended is not really - or not always - of any interest to me, more important is how the art affects me or if it leaves me indifferent.

So yesterday I ventured out from Southern Charm to experience the adventure that is SaveMe and the art she had created for me. Let me start off by telling you all that no anchovy, olives or even Dry Martini´s were served. 

My dearest sister Millimina was there which made me very happy, because I have not seen her in a long time. Even if we were both busy running around in SaveMe´s installations and did not speak as much as we usually do it was a great comfort to have her there.

Now, without further ado, here is my interpretation. I am going to show you parts of the exhibition yesterday. I have chosen to give you a series of pictures I took in random order. In the captions to each picture I have written a few words, thoughts or statements. By stepping into the installations we became part of it and changed it, for ourselves and for the onlookers.

For more pictures - and a different experience - please visit my buddy Apmel Goosson´s blog post Min avatar heter Apmel; Oh: Confusion is the healthy soil on which creativity grows

Afterthought. Rereading what I have written I am stuck by the gloominess, but I actually had a great time and lots of fun yesterday!

"I want a divorce!"
The mother in-law arrives
Alone in a room full of people
"How did we get here?"
Poison or despair?
The harbinger of death
"I have nothing to say"
"It is time to leave"
Booze helps - sometimes
Out on the town
Alone, at last
"My life could be better"
Photo by Millimina Salamander
"What a wonderful day, I am happy but tired"
At dawn after a sleepless night
"I will always love her" he thinks to himself

Quan's Travelogues 



The invitation to the opening was already fun:
 Sunday 16th at 1PM SLT you are welcome to join  a daring artwalk into exclusive goals!
 This is an artwork by the notorious artist SaveMe Oh. As she made and hosts  the art in question she cannot   be banned."

As I arrived there, SaveMe was sweet as always and did not waist time with useless civilities. Instead of a welcome I got: "Quan, go up, or your think your blog writes itself?"  Ok, at least she was saying what all artists are thinking when I visit an exhibition.

Of course I did not went up the red arrows without grabbing a free Hoover at the landing point first, with I love since SaveMe's great Machinima about Rebecca Bashly's 'Inferno'. Climbing up there are countless of rooms. In each one you can hop into the scenery.

I think I remember some of them. SaveMe has wearing them at events, for what she is widely hated in the art scene - as usually spiced with some insider jokes. And some of the scenes I recognize from 'The Oh Collection'. These pictures are smart, witty and greatly done interpretations on famous artworks or artists. They are only to see on Facebook. Please correct me, if there is another possibility to see them. Because only some of the pictures are displayed in the exhibition, which is sad.  Look for the pictures in the builds, they are the best! SaveMe is not a great builder and without knowing the purpose and as well the stories or dramas behind many witty hints in the builds, it leaves the visitor helpless as you see in the chat below:

The build...
...and the related picture

When I logged in today, I met Kay Mermaid (Kay Uggla). She told me that she has a studio on Solace Island, the sim of the exhibtion, where she teaches clothes making. The dialogue about the installations revealed all questions that other visitors would have too:

Kay: i had some difficulties to understand this all
Kay: did you understand this art thing? What is the meaning?
Kay: For me it is parts in a big building, most of the building is gone.
Kay: that is how i understood it all
Quan: With some I don't know either, some has been part of pictures and with others I find hints to dramas SaveMe has caused or was involved in
Kay: may be
Quan: these rooms, SaveMe usually wears in crowded places, openings or such
Kay: aha
Kay: have you seen her things before?
Quan: yes, as I said usually on openings or events of art places or on photos, she posted in her blog later.
Kay Mermaid: and then all that fuzz about her person here and some persons sort of "steeling" the interest form her art?
Quan: yes, in a way...

Sadly, not much artists used the chance to have some revenge fun at the opening. But one always can rely on Eupalinos Ugajin. He was wearing a beautiful cube attachment. "A gift of Lolito Larkham." as he said . It covered several of SaveMe's builds and he added later more: " The cows are a 1024 sphere, so 4 sims large!" This hardly can be topped.

Eupalinos Ugajin at HOP ON OH

Sunday, October 7, 2012

The Missing by Thirza Ember

What makes Hopper an enduring and endearing figure in 20th century art has been hacked to death by writers, almost from his first encounter with fame, age 40, when his soon-to-be-wife, Jo Nivison, convinced him to show some watercolours at the Brooklyn Museum.
What makes Hop On Hop Oh, the installation at Solace Island, so interesting is that the builder, Saveme Oh, is in every way the opposite of what we have been taught to think of, when we think of Edward Hopper: flamboyant, to Hopper's repression; anti-establishment, to Hopper's conservatism; manically social, to Hopper's sense of solitude.
Hopper's early life resonates with the typical Second Life; it is one of lopsided aspirations, fragmented advantage, finally glued together by glorious good luck. His talent was obvious from a young age, and was encouraged by his parents who set him up with trips abroad, and the kind of solid education in the field that most aspiring artists would be delighted to receive  But all this promise seemed to boil down to a ho-hum career in commercial art, the safe-ish option, nothing that was going to bring in the big money or fame, but nothing that might shock or embarrass his straitlaced family. A creative life going nowhere. Yet, finally, he did stick his neck out, and become somebody; and while his pictures were not always understood nor appreciated, his perseverance won the day. Perseverance, in the sense that his particular version of realism never wavered. Critics and opinion makers might dress up his psyche in any number of avatars - 'dour', 'tense', or 'alienated', but he was, like any of us, merely and always himself, no matter what others chose to perceive. 
And so it is through the lens of Hopper's 'appearances' that one must read the installation Hop On Hop Oh. With two exceptions, 'Gas' at the bottom and 'Nighthawks' at the top, all the paintings reproduced here are interiors, those quiet interiors made even more lonely and tense in this incarnation, by the absence of the figures present in the original. 

 The build feels like a progression through theatrical flats. They are made to be viewed through the fourth wall, and any less orthodox approach, the kind of free camming we all have come to accept as a right, when viewing art, will bring one up sharply against unfinished-looking prims protruding through walls, or sketched elements only meant to be glimpsed through windows.
Saveme, like Hopper, is concerned with form, not texture; and light, above all, light. On the other hand, Oh has added paintings to the interiors; paintings which in turn have the artist's face, or whole avatar, intruding into group scenes. In becoming part of the decor, it's an assertion of self in a manner less ethereal than the pose balls, which allow the visitor to participate in the pictures. 
Participation is possible, it's true, yet the inherent lacking remains. It's as if Hopper resists this further attempt to rewrite him. We cannot immerse ourselves in his work. The silence remains. It's a pretty paradox to observe on the part of one of the most noisy - and often noisome - members of the Second Life art scene.
What takes this paradox even further are the references to two of SaveMe's more notable nemeses. Oh is almost synonymous for griefing, or (depending on your point of view) 'enlivening' events at galleries and installations by acts of spontaneous rezzing; acts often accompanied by blog entries that chart the aggravation or absurdity that these interventions leave in their wake.  It is a deeply social and performative act, which has here become embalmed, absorbed, re-written in a way that suggests an attachment much deeper than an act of witty deflating spite.  

Yet, their very presence here, in this place of absence, of solitude, suggests an anxiety, an awareness that no amount of nervous energy can trap these playthings in amber. The virtual grasp is as tenuous as the beam of light that delineates a wall; a temporary permanence, at (its) best.

Hop on Hop Oh will be there for a while. Take a look.